Samuel Lau, Tricia J. Ngoon, Vineet Pandey, Scott R. Klemmer
Misunderstandings of science affect many lives. Novices commonly misunderstand explanations by overly relying on surface details instead of evaluating underlying logic. Prior work has found adding a patina of neuroscience leads readers towards positively assessing explanations. How might we help people better understand science explanations? A between-subjects experiment tested whether asking readers to reconstruct experiments leads them to focus more on underlying logic. Participants relied less on irrelevant surface details when reconstructing experiments. However, this did not impact their subsequent assessment of explanations. Our results suggest that reconstruction is a useful strategy for understanding explanations but is not readily transferred towards evaluating explanations.
{"title":"Experiment Reconstruction Reduces Fixation on Surface Details of Explanations","authors":"Samuel Lau, Tricia J. Ngoon, Vineet Pandey, Scott R. Klemmer","doi":"10.1145/3325480.3326582","DOIUrl":"https://doi.org/10.1145/3325480.3326582","url":null,"abstract":"Misunderstandings of science affect many lives. Novices commonly misunderstand explanations by overly relying on surface details instead of evaluating underlying logic. Prior work has found adding a patina of neuroscience leads readers towards positively assessing explanations. How might we help people better understand science explanations? A between-subjects experiment tested whether asking readers to reconstruct experiments leads them to focus more on underlying logic. Participants relied less on irrelevant surface details when reconstructing experiments. However, this did not impact their subsequent assessment of explanations. Our results suggest that reconstruction is a useful strategy for understanding explanations but is not readily transferred towards evaluating explanations.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129314487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Thomas Deacon, N. Bryan-Kinns, P. Healey, M. Barthet
This paper presents an observational study of collaborative spatial music composition. We uncover the practical methods two experienced music producers use to coordinate their understanding of multi-modal and spatial representations of music as part of their workflow. We show embodied spatial referencing as a significant feature of the music producers' interactions. Our analysis suggests that gesture is used to understand, communicate and form action through a process of shaping sounds in space. This metaphor highlights how aesthetic assessments are collaboratively produced and developed through coordinated spatial activity. Our implications establish sensitivity to embodied action in the development of collaborative workspaces for creative, spatial-media production of music.
{"title":"Shaping Sounds: The Role of Gesture in Collaborative Spatial Music Composition","authors":"Thomas Deacon, N. Bryan-Kinns, P. Healey, M. Barthet","doi":"10.1145/3325480.3325493","DOIUrl":"https://doi.org/10.1145/3325480.3325493","url":null,"abstract":"This paper presents an observational study of collaborative spatial music composition. We uncover the practical methods two experienced music producers use to coordinate their understanding of multi-modal and spatial representations of music as part of their workflow. We show embodied spatial referencing as a significant feature of the music producers' interactions. Our analysis suggests that gesture is used to understand, communicate and form action through a process of shaping sounds in space. This metaphor highlights how aesthetic assessments are collaboratively produced and developed through coordinated spatial activity. Our implications establish sensitivity to embodied action in the development of collaborative workspaces for creative, spatial-media production of music.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130881206","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
We investigate engaging a computer science conference audience in sketching responses to the event as it occurs. In particular, we explore the response to inviting those present to engage in what is essentially an off-line, co-located, attendee-sourcing experience. Sketchnoting is a popular practice for documenting events, but these sketched records can be limited in scope at multi-track conferences, and paid professionals can be unaffordable at smaller events. Our challenges included: working with an audience with little or no experience of sketching or working with imagery; who were unaware of the possible benefits; and whose attendee engagement was variable - with individuals often working on laptops rather than actively listening during sessions. In order encourage engagement we hosted a pre-conference workshop, developed a conference-specific set of visual icons, and created prompt materials. This resulted in a remarkable visual record of the event, and also an increase in active listening and engagement.
{"title":"Sketching Sustainability in Computing","authors":"M. Sturdee, S. Mann, M. Carpendale","doi":"10.1145/3325480.3325481","DOIUrl":"https://doi.org/10.1145/3325480.3325481","url":null,"abstract":"We investigate engaging a computer science conference audience in sketching responses to the event as it occurs. In particular, we explore the response to inviting those present to engage in what is essentially an off-line, co-located, attendee-sourcing experience. Sketchnoting is a popular practice for documenting events, but these sketched records can be limited in scope at multi-track conferences, and paid professionals can be unaffordable at smaller events. Our challenges included: working with an audience with little or no experience of sketching or working with imagery; who were unaware of the possible benefits; and whose attendee engagement was variable - with individuals often working on laptops rather than actively listening during sessions. In order encourage engagement we hosted a pre-conference workshop, developed a conference-specific set of visual icons, and created prompt materials. This resulted in a remarkable visual record of the event, and also an increase in active listening and engagement.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130900196","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper explores "You Are the Ocean," an interactive art installation where a participant's brainwaves control a projected ocean simulation. Using an EEG headset, the approximate attention and meditation levels of the participant are measured. As the participant increases her attention and focus, the ocean and sky become stormier. When the participant calms her mind, the ocean too becomes calm. This paper describes the concept, implementation, and participant interaction surrounding the installation. While many existing artworks have used EEG headsets, "You Are the Ocean" is novel in its use of interactive, photorealistic real-time rendering to communicate the intrinsic connection between humans and the planet.
{"title":"You are the Ocean: Interactive Installation","authors":"Özge Samanci, Gabriel Caniglia","doi":"10.1145/3325480.3329179","DOIUrl":"https://doi.org/10.1145/3325480.3329179","url":null,"abstract":"This paper explores \"You Are the Ocean,\" an interactive art installation where a participant's brainwaves control a projected ocean simulation. Using an EEG headset, the approximate attention and meditation levels of the participant are measured. As the participant increases her attention and focus, the ocean and sky become stormier. When the participant calms her mind, the ocean too becomes calm. This paper describes the concept, implementation, and participant interaction surrounding the installation. While many existing artworks have used EEG headsets, \"You Are the Ocean\" is novel in its use of interactive, photorealistic real-time rendering to communicate the intrinsic connection between humans and the planet.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130147656","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Visual metaphors are a creative technique used in print media to convey a message through images. This message is not said directly, but implied through symbols and how those symbols are juxtaposed in the image. The messages we see affect our thoughts and lives, and it is an open research challenge to get machines to automatically understand the implied messages in images. However, it is unclear how people process these images or to what degree they understand the meaning. We test several theories about how people interpret visual metaphors and find people can interpret the visual metaphor correctly without explanatory text with 41.3% accuracy. We provide evidence for four distinct types of errors people make in their interpretation, which speaks to the cognitive processes people use to infer the meaning. We also show that people's ability to interpret a visual message is not simply a function of image content but also of message familiarity. This implies that efforts to automatically understand visual images should take into account message familiarity.
{"title":"Human Errors in Interpreting Visual Metaphor","authors":"S. Petridis, Lydia B. Chilton","doi":"10.1145/3325480.3325503","DOIUrl":"https://doi.org/10.1145/3325480.3325503","url":null,"abstract":"Visual metaphors are a creative technique used in print media to convey a message through images. This message is not said directly, but implied through symbols and how those symbols are juxtaposed in the image. The messages we see affect our thoughts and lives, and it is an open research challenge to get machines to automatically understand the implied messages in images. However, it is unclear how people process these images or to what degree they understand the meaning. We test several theories about how people interpret visual metaphors and find people can interpret the visual metaphor correctly without explanatory text with 41.3% accuracy. We provide evidence for four distinct types of errors people make in their interpretation, which speaks to the cognitive processes people use to infer the meaning. We also show that people's ability to interpret a visual message is not simply a function of image content but also of message familiarity. This implies that efforts to automatically understand visual images should take into account message familiarity.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"75 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128704510","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Session details: Graduate Student Symposium","authors":"J. Crandall, J. Fritsch","doi":"10.1145/3340705","DOIUrl":"https://doi.org/10.1145/3340705","url":null,"abstract":"","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122284213","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Honghao Deng, Jiabao Li, Xuesong Zhang, P. Michalatos
An essential function of architecture is to control the environment around us. In practice, interior climates are discretized into self-contained units, where wetness is designated to wet spaces, and dryness is kept to dry spaces. Contrary to nature's changing weather patterns, architecture is often static and binary, with no diffusion in between. As a result, weather conditions in nature are not experienced inside. Current installations using vapor geometries in architecture are limited to creative showcases. With Diffusive Geometries, we are proposing vapor as a medium to bring microclimates into architectural spaces. The unique characteristics of vapor as tectonic elements allow users to modulate visibility, create cooling gradients, and produce spatial patterns with three main elements: vapor vortex ring, vapor tornado, and vapor wall.
{"title":"Diffusive Geometries: Vapor as a Tectonic Element to Sculpt Microclimates in Architectural Space","authors":"Honghao Deng, Jiabao Li, Xuesong Zhang, P. Michalatos","doi":"10.1145/3325480.3329170","DOIUrl":"https://doi.org/10.1145/3325480.3329170","url":null,"abstract":"An essential function of architecture is to control the environment around us. In practice, interior climates are discretized into self-contained units, where wetness is designated to wet spaces, and dryness is kept to dry spaces. Contrary to nature's changing weather patterns, architecture is often static and binary, with no diffusion in between. As a result, weather conditions in nature are not experienced inside. Current installations using vapor geometries in architecture are limited to creative showcases. With Diffusive Geometries, we are proposing vapor as a medium to bring microclimates into architectural spaces. The unique characteristics of vapor as tectonic elements allow users to modulate visibility, create cooling gradients, and produce spatial patterns with three main elements: vapor vortex ring, vapor tornado, and vapor wall.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127712886","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Maker and DIY craft movements promote values of democratization, creativity, and customization [12]. While the associated informal learning structures - makerspaces, workshops, and DIY tutorials - support fabrication, they do not necessarily scaffold design learning [27]. Here, I present my work on design learning in formal and informal contexts and propose the re-design of DIY instructions to better support and understand informal design learning.
{"title":"Explorable Instructions: Crafting Designerly DIY Tutorials","authors":"Kathryn Shroyer","doi":"10.1145/3325480.3326561","DOIUrl":"https://doi.org/10.1145/3325480.3326561","url":null,"abstract":"The Maker and DIY craft movements promote values of democratization, creativity, and customization [12]. While the associated informal learning structures - makerspaces, workshops, and DIY tutorials - support fabrication, they do not necessarily scaffold design learning [27]. Here, I present my work on design learning in formal and informal contexts and propose the re-design of DIY instructions to better support and understand informal design learning.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121557812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In 1979 Rosalind Krauss laid bare the root cause or conditions of possibility that led to the transitory shift to post modernism. Envisioned through a series of Klein diagrams, a mathematical model borrowed from the social sciences her seminal work proved an inspiring model. Last year preliminary post-graduate research posed the question "Where do our bodies begin and end in a networked world?" Adopting a similar approach to Krauss I examine the sociological shift in primary communication from the physical (face-to-face) to the virtual (text-messaging) across a pre/post digital timeframe. Focusing upon Maurice Merleau Ponty's concept of intercorporeality I reimagine, via what may be termed 'extended positioning', interaffectivity through the mapping of the affective dimension. The concluding position, presented at the AAANZ conference in Melbourne last year, continues to inform my research and creative practice.
{"title":"Materiality in Motion: Ecologies of Transformation","authors":"Lucy Boermans, Clovis McEvoy","doi":"10.1145/3325480.3329172","DOIUrl":"https://doi.org/10.1145/3325480.3329172","url":null,"abstract":"In 1979 Rosalind Krauss laid bare the root cause or conditions of possibility that led to the transitory shift to post modernism. Envisioned through a series of Klein diagrams, a mathematical model borrowed from the social sciences her seminal work proved an inspiring model. Last year preliminary post-graduate research posed the question \"Where do our bodies begin and end in a networked world?\" Adopting a similar approach to Krauss I examine the sociological shift in primary communication from the physical (face-to-face) to the virtual (text-messaging) across a pre/post digital timeframe. Focusing upon Maurice Merleau Ponty's concept of intercorporeality I reimagine, via what may be termed 'extended positioning', interaffectivity through the mapping of the affective dimension. The concluding position, presented at the AAANZ conference in Melbourne last year, continues to inform my research and creative practice.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122364410","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ReadingRites are human + A.I. participatory poetry readings. Poets and audience members read onscreen poetry written by artificial intelligence (A.I.). They read at the rate that the machine writes, -- which is sometimes very fast, and often confusing. Venues upcoming in 2019 include Beinecke Library at Yale University and the Barbican in London. ReadingRites was premiered at Brown University's Interrupt Festival on Feb 8th 2019. At each venue, local participants join digital-poet Jhave in reading rapid A.I.-generated text, -- playing their wits and voices against an evocative infinite deep-learning muse.
{"title":"ReRites (& ReadingRites): Human + A.I. Poetry (& Participatory-Readings)","authors":"David Jhave Johnston","doi":"10.1145/3325480.3329182","DOIUrl":"https://doi.org/10.1145/3325480.3329182","url":null,"abstract":"ReadingRites are human + A.I. participatory poetry readings. Poets and audience members read onscreen poetry written by artificial intelligence (A.I.). They read at the rate that the machine writes, -- which is sometimes very fast, and often confusing. Venues upcoming in 2019 include Beinecke Library at Yale University and the Barbican in London. ReadingRites was premiered at Brown University's Interrupt Festival on Feb 8th 2019. At each venue, local participants join digital-poet Jhave in reading rapid A.I.-generated text, -- playing their wits and voices against an evocative infinite deep-learning muse.","PeriodicalId":415260,"journal":{"name":"Proceedings of the 2019 Conference on Creativity and Cognition","volume":"57 8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116557854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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